In Mexico, everyone seems to be Alexander Girard. Not afraid of color, of two colors together, of tiles and stripes, of patterns on pattern, of humble materials made noble by aggregation. The Loeb Fellowship took me to Mexico City for a week in February, and there I found the roots of Girard’s “opulent modernism” still growing. Everywhere I looked — underfoot, on the walls, over the doors — something particular was happening. I understood why he had been so inspired to collect and reinterpret Mexican precedents; more importantly I also saw Mexican designers and everyday people reinterpreting for themselves. Design with a small “d” was everywhere, reflecting a culture that seems to understand the small gestures that make a room, a building, or a city special. A church in Queretaro with checkerboard floors, a neo-classical facade, and a golden altarpiece of many doors. A museum in Mexico City with real Mayan artifacts, reconstructed Aztec facades, red-and-purple upholstery, bowls floating on plexiglass mounts. Girard distilled the elements of Mexican style, transforming them into an American modernist idiom, but it is not as if Mexican modernists weren’t doing the same. Architect Luis Barragran spotlit a golden angel with a perfectly placed skylight. Artist, architect, designer Mathias Goeritz remade the baroque icon as a simple gold-leaf square. Contemporary projects embed ceramic trees of life in Art Deco hallways, or echo the peacock circles of traditional decor in industrial spiral staircases. At the studios of Frida Kahlo and Diego Rivera, lines of cacti march past Bauhaus silhouettes.